1.
Panicale
–
Panicale is a comune in the Province of Perugia in the Italian region Umbria. Located on the slope of Mount Petrarvella, in the southeast of Valdichiana, it overlooks Lake Trasimeno. As of 31 December 2012, it had a population of 5,669, the municipality of Panicale contains the frazioni Tavernelle, Colle San Paolo, Missiano, Casalini, Colle Calzolaro, Macereto, Mongiovino, Montale, Colgiordano, Gioveto and Migliaiolo. Panicale borders the municipalities, Castiglione del Lago, Magione, Paciano, Perugia. Church of Saint Sebastian, contains Pietro Peruginos Fresco Martyrdom of Saint Sebastian Official Site
Panicale
–
Backside of the Church of San Michele Archangelo on Piazza Umberto I, the main square of Panicale
2.
Florence
–
Florence is the capital city of the Italian region of Tuscany and of the Metropolitan City of Florence. It is the most populous city in Tuscany, with 383,083 inhabitants, Florence was a centre of medieval European trade and finance and one of the wealthiest cities of the time. It is considered the birthplace of the Renaissance, and has called the Athens of the Middle Ages. A turbulent political history includes periods of rule by the powerful Medici family, from 1865 to 1871 the city was the capital of the recently established Kingdom of Italy. The Historic Centre of Florence attracts 13 million tourists each year and it was declared a World Heritage Site by UNESCO in 1982. The city is noted for its culture, Renaissance art and architecture, the city also contains numerous museums and art galleries, such as the Uffizi Gallery and the Palazzo Pitti, and still exerts an influence in the fields of art, culture and politics. Due to Florences artistic and architectural heritage, it has been ranked by Forbes as one of the most beautiful cities in the world, in 2008, the city had the 17th highest average income in Italy. Florence originated as a Roman city, and later, after a period as a flourishing trading and banking medieval commune. According to the Encyclopædia Britannica, it was politically, economically, and culturally one of the most important cities in Europe, the language spoken in the city during the 14th century was, and still is, accepted as the Italian language. Starting from the late Middle Ages, Florentine money—in the form of the gold florin—financed the development of all over Europe, from Britain to Bruges, to Lyon. Florentine bankers financed the English kings during the Hundred Years War and they similarly financed the papacy, including the construction of their provisional capital of Avignon and, after their return to Rome, the reconstruction and Renaissance embellishment of Rome. Florence was home to the Medici, one of European historys most important noble families, Lorenzo de Medici was considered a political and cultural mastermind of Italy in the late 15th century. Two members of the family were popes in the early 16th century, Leo X, catherine de Medici married king Henry II of France and, after his death in 1559, reigned as regent in France. Marie de Medici married Henry IV of France and gave birth to the future king Louis XIII, the Medici reigned as Grand Dukes of Tuscany, starting with Cosimo I de Medici in 1569 and ending with the death of Gian Gastone de Medici in 1737. The Etruscans initially formed in 200 BC the small settlement of Fiesole and it was built in the style of an army camp with the main streets, the cardo and the decumanus, intersecting at the present Piazza della Repubblica. Situated along the Via Cassia, the route between Rome and the north, and within the fertile valley of the Arno, the settlement quickly became an important commercial centre. Peace returned under Lombard rule in the 6th century, Florence was conquered by Charlemagne in 774 and became part of the Duchy of Tuscany, with Lucca as capital. The population began to again and commerce prospered
Florence
–
A collage of Florence showing the
Galleria degli Uffizi (top left), followed by the
Palazzo Pitti, a sunset view of the city and the
Fountain of Neptune in the
Piazza della Signoria
Florence
–
A wooden model of Florence as it would have probably looked during Roman times, showing the ancient amphitheatre
Florence
–
The façade of the Cathedral
Florence
–
Leonardo da Vinci statue outside the
Uffizi Gallery.
3.
Painting
–
Painting is the practice of applying paint, pigment, color or other medium to a solid surface. The medium is commonly applied to the base with a brush, but other implements, such as knives, sponges, Painting is a mode of creative expression, and the forms are numerous. Drawing, gesture, composition, narration, or abstraction, among other aesthetic modes, may serve to manifest the expressive, Paintings can be naturalistic and representational, photographic, abstract, narrative, symbolistic, emotive, or political in nature. A portion of the history of painting in both Eastern and Western art is dominated by motifs and ideas. In art, the term painting describes both the act and the result of the action, the term painting is also used outside of art as a common trade among craftsmen and builders. What enables painting is the perception and representation of intensity, every point in space has different intensity, which can be represented in painting by black and white and all the gray shades between. In practice, painters can articulate shapes by juxtaposing surfaces of different intensity, thus, the basic means of painting are distinct from ideological means, such as geometrical figures, various points of view and organization, and symbols. In technical drawing, thickness of line is ideal, demarcating ideal outlines of an object within a perceptual frame different from the one used by painters. Color and tone are the essence of painting as pitch and rhythm are the essence of music, color is highly subjective, but has observable psychological effects, although these can differ from one culture to the next. Black is associated with mourning in the West, but in the East, some painters, theoreticians, writers and scientists, including Goethe, Kandinsky, and Newton, have written their own color theory. Moreover, the use of language is only an abstraction for a color equivalent, the word red, for example, can cover a wide range of variations from the pure red of the visible spectrum of light. There is not a register of different colors in the way that there is agreement on different notes in music. For a painter, color is not simply divided into basic, painters deal practically with pigments, so blue for a painter can be any of the blues, phthalocyanine blue, Prussian blue, indigo, cobalt, ultramarine, and so on. Psychological and symbolical meanings of color are not, strictly speaking, colors only add to the potential, derived context of meanings, and because of this, the perception of a painting is highly subjective. The analogy with music is quite clear—sound in music is analogous to light in painting, shades to dynamics and these elements do not necessarily form a melody of themselves, rather, they can add different contexts to it. Modern artists have extended the practice of painting considerably to include, as one example, collage, some modern painters incorporate different materials such as sand, cement, straw or wood for their texture. Examples of this are the works of Jean Dubuffet and Anselm Kiefer, there is a growing community of artists who use computers to paint color onto a digital canvas using programs such as Adobe Photoshop, Corel Painter, and many others. These images can be printed onto traditional canvas if required, rhythm is important in painting as it is in music
Painting
–
The
Mona Lisa, by
Leonardo da Vinci, is one of the most recognizable paintings in the world.
Painting
–
Chen Hongshou (1598–1652), Leaf album painting (
Ming Dynasty)
Painting
–
Circus Sideshow (
French: Parade de cirque),
Georges Seurat, 1887–88
Painting
–
Cave painting of aurochs, (
French: Bos primigenius primigenius),
Lascaux,
France,
prehistoric art
4.
Fresco
–
Fresco is a technique of mural painting executed upon freshly-laid, or wet lime plaster. Water is used as the vehicle for the pigment to merge with the plaster, and with the setting of the plaster, the fresco technique has been employed since antiquity and is closely associated with Italian Renaissance painting. Buon fresco pigment mixed with water of temperature on a thin layer of wet, fresh plaster, for which the Italian word for plaster. Because of the makeup of the plaster, a binder is not required, as the pigment mixed solely with the water will sink into the intonaco. The pigment is absorbed by the wet plaster, after a number of hours, many artists sketched their compositions on this underlayer, which would never be seen, in a red pigment called sinopia, a name also used to refer to these under-paintings. Later, new techniques for transferring paper drawings to the wall were developed. The main lines of a drawing made on paper were pricked over with a point, the paper held against the wall, if the painting was to be done over an existing fresco, the surface would be roughened to provide better adhesion. This area is called the giornata, and the different day stages can usually be seen in a large fresco, buon frescoes are difficult to create because of the deadline associated with the drying plaster. Once a giornata is dried, no more buon fresco can be done, if mistakes have been made, it may also be necessary to remove the whole intonaco for that area—or to change them later, a secco. An indispensable component of this process is the carbonatation of the lime, the eyes of the people of the School of Athens are sunken-in using this technique which causes the eyes to seem deeper and more pensive. Michelangelo used this technique as part of his trademark outlining of his central figures within his frescoes, in a wall-sized fresco, there may be ten to twenty or even more giornate, or separate areas of plaster. After five centuries, the giornate, which were nearly invisible, have sometimes become visible, and in many large-scale frescoes. Additionally, the border between giornate was often covered by an a secco painting, which has fallen off. One of the first painters in the period to use this technique was the Isaac Master in the Upper Basilica of Saint Francis in Assisi. A person who creates fresco is called a frescoist, a secco or fresco-secco painting is done on dry plaster. The pigments thus require a medium, such as egg. Blue was a problem, and skies and blue robes were often added a secco, because neither azurite blue nor lapis lazuli. By the end of the century this had largely displaced buon fresco
Fresco
–
Fresco in the church Mariä Verkündigung in Fuchstal,
Bavaria, Germany from Thomas Springer
Fresco
–
Fresco
Sistine Chapel in the
Vatican, Rome, Italy.
Fresco
–
Etruscan fresco of Velia Velcha from the
Tomb of Orcus,
Tarquinia.
Fresco
–
Fresco of "
Sappho " from
Pompeii, c. 50 CE.
5.
Brancacci Chapel
–
The Brancacci Chapel is a chapel in the Church of Santa Maria del Carmine in Florence, central Italy. It is sometimes called the Sistine Chapel of the early Renaissance for its cycle, among the most famous. Construction of the chapel was commissioned by Pietro Brancacci and begun in 1386, public access is currently gained via the neighbouring convent, designed by Brunelleschi. The church and the chapel are treated as separate places to visit and as such have different opening times, the patron of the pictorial decoration was Felice Brancacci, descendant of Pietro, who had served as the Florentine ambassador to Cairo until 1423. Upon his return to Florence, he hired Masolino da Panicale to paint his chapel, by the time Masolino returned he was learning from his talented former student. However, Masaccio was called to Rome before he could finish the chapel, portions of the chapel were completed later by Filippino Lippi. Unfortunately during the Baroque period some of the paintings were seen as unfashionable, in his frescos, Masaccio carries out a radical break from the medieval pictorial tradition, by adhering to the new Renaissance perspectival conception of space. Thus, perspective and light create deep spaces where volumetrically constructed figures move in a strongly individualised human dimension, Masaccio therefore continues on Giottos path, detaching himself from a symbolic vision of man and propounding a greater realistic painting. The cycle from the life of Saint Peter was commissioned as patron saint from Pietro Brancacci, the paintings are explained below in their narrative order. In contrast with Masaccios Expulsion, this is a serene and innocent raffiguration, the cycle begins with this painting by Masolino, placed on the higher rectangle of the arch delimiting the Chapel, within the pillar thickness. The painting shows Adam standing near Eve, they look at each other with measured postures, as she prepares to bite on the apple, the snake has a head with thick blond hair, much idealised. The scene is aulic in its presentation, with gestures and style conveying tones of late International Gothic, light, which models the figures without sharp angles, is soft and embracing, the dark background makes the body stand out in their sensual plasticity, almost suspended in space. Masaccios masterpiece Expulsion from the Garden of Eden is the first fresco on the part of the chapel, on the left wall. It is famous for its energy and unprecedented emotional realism. It contrasts dramatically with Masolinos delicate and decorative image of Adam and Eve before the fall, painted on the opposite wall. It presents a dramatic intensity, with an angel who hovers over Adam and Eve indicating the way out of the Garden of Eden. The bodies dynamism, especially Adams, gives an unprecedented passion to the figures, firmly planted on ground, many are the details which increase the emotional drama, Adams damp and sticky hair, the angels posture, foreshortened as if diving down from above. Eves position is from an ancient representation, that of Venus Pudica, the foliage covering the couples nudities was removed during a restoration in 1990
Brancacci Chapel
–
The Tribute Money, fresco by Masaccio in the Brancacci Chapel.
Brancacci Chapel
–
Schematics of the Brancacci Chapel paintings.
Brancacci Chapel
–
The Temptation of Adam and Eve, by
Masolino da Panicale.
Brancacci Chapel
–
The Expulsion from the Garden of Eden, after restoration.
6.
Italian Renaissance
–
The term Renaissance is in essence a modern one that came into currency in the 19th century, in the work of historians such as Jules Michelet and Jacob Burckhardt. The French word renaissance means Rebirth, and the era is best known for the renewed interest in the culture of classical antiquity after the period that Renaissance humanists labeled the Dark Ages. Though today perhaps best known for Italian Renaissance art and architecture, the period saw major achievements in literature, music, philosophy, Italy became the recognized European leader in all these areas by the late 15th century, and to varying degrees retained this lead until about 1600. This was despite a turbulent and generally disastrous period in Italian politics, the European Renaissance began in Tuscany, and centred in the city of Florence. It later spread to Venice, where the remains of ancient Greek culture were brought together, the Renaissance later had a significant effect on Rome, which was ornamented with some structures in the new allantico mode, then was largely rebuilt by humanist sixteenth-century popes. The Italian Renaissance peaked in the century as foreign invasions plunged the region into the turmoil of the Italian Wars. However, the ideas and ideals of the Renaissance endured and spread into the rest of Europe, setting off the Northern Renaissance, the Italian Renaissance is best known for its cultural achievements. Accounts of Renaissance literature usually begin with Petrarch and his friend, famous vernacular poets of the 15th century include the renaissance epic authors Luigi Pulci, Matteo Maria Boiardo, and Ludovico Ariosto. 15th century writers such as the poet Poliziano and the Platonist philosopher Marsilio Ficino made extensive translations from both Latin and Greek, the same is true for architecture, as practiced by Brunelleschi, Leon Battista Alberti, Andrea Palladio, and Bramante. Their works include Florence Cathedral, St. Peters Basilica in Rome, yet cultural contributions notwithstanding, some present-day historians also see the era as one of the beginning of economic regression for Italy. By the Late Middle Ages, Latium, the heartland of the Roman Empire. Rome was a city of ancient ruins, and the Papal States were loosely administered, and vulnerable to external interference such as that of France, and later Spain. The Papacy was affronted when the Avignon Papacy was created in southern France as a consequence of pressure from King Philip the Fair of France, in the south, Sicily had for some time been under foreign domination, by the Arabs and then the Normans. Sicily had prospered for 150 years during the Emirate of Sicily, in contrast Northern and Central Italy had become far more prosperous, and it has been calculated that the region was among the richest of Europe. The Crusades had built lasting trade links to the Levant, the main trade routes from the east passed through the Byzantine Empire or the Arab lands and onwards to the ports of Genoa, Pisa, and Venice. Luxury goods bought in the Levant, such as spices, dyes, moreover, the inland city-states profited from the rich agricultural land of the Po valley. From France, Germany, and the Low Countries, through the medium of the Champagne fairs, land and river trade routes brought goods such as wool, wheat, and precious metals into the region. The extensive trade that stretched from Egypt to the Baltic generated substantial surpluses that allowed significant investment in mining, thus, while northern Italy was not richer in resources than many other parts of Europe, the level of development, stimulated by trade, allowed it to prosper
Italian Renaissance
–
Renaissance
Italian Renaissance
–
Pandolfo Malatesta (1417–1468), lord of
Rimini, by
Piero della Francesca. Malatesta was a capable
condottiere, following the tradition of his family. He was hired by the
Venetians to fight against the
Turks (unsuccessfully) in 1465, and was patron of
Leone Battista Alberti, whose
Tempio Malatestiano at Rimini is one of the first entirely classical buildings of the Renaissance.
Italian Renaissance
–
Leonardo da Vinci, Italian
Renaissance Man
Italian Renaissance
–
Giulio Clovio,
Adoration of the Magi and
Solomon Adored by the
Queen of Sheba from the Farnese Hours, 1546.
7.
Pipo of Ozora
–
Filippo Buondelmonti degli Scolari, known as Pippo Spano, was an Italian magnate, general, strategist and confidant of King Sigismund of Hungary, born in the Republic of Florence. The personal friend of Sigismund and member of the Order of the Dragon, Filippo, the son of a destitute Florentine nobleman, was born at Tizzano, near Florence. He is first mentioned in Hungary around 1382, when he entered the service of Sigismunds treasurer and was awarded the castle in Simontornya. Further services to the Crown, such as providing resources to fight the Ottomans, present in Bosnia, in the context of a Hungarian nobles rebellion and King Tvrtko I of Bosnias death, Pippo managed to subdue the main leaders of the revolt. He took part in the unfortunate anti-Ottoman Last Crusade of September 1396 at Nicopolis in Bulgaria and he, the King, and a number of high dignitaries sailed a small boat up the Danube, all the way to Hungarian and Croatian lands. He married Barbara, daughter and heir of Andrew of Ozora, during the new period of trouble with the claim to the throne of Charles IIs son Ladislaus of Naples, Lo Scolari exposed acts of treason on the part of some noblemen. He was however forced to give in to most of their demands, after Sigismund reasserted control briefly, the nobles openly recognized Ladislaus as King. He persuaded the rebels to seek Sigismunds pardon, while in Vienna, Pippo was made Count of Temesvár. In 1408, Pippo became the Ban of Szörény and member of the prestigious Order of the Dragon, by time, he had become wealthy. In 1410, Sigismund sent him to persuade Italian city-states to cut off their links with Naples, he traveled in great pomp to his native Florence, in August, he was received by Pisan Antipope John XXIII. In September, present in Venice, Pippo is said to have backed a conspiracy, in January 1412, the renewed attack ensured Pippo a supply of high-ranking Venetian prisoners, whom he ordered mutilated to avenge a Hungarian killed by the enemy. He suffered a defeat at the Battle of Motta in August 1412 against the Venetian Republic under Carlo Malatesta. Pippo intended to besiege Padua in January, but he could not maintain his army on the spot, further failures provoked his retreat to Friuli, and then to Hungary, in February. This outcome made Venetian accounts imply a settlement with the Most Serene Republic, Lo Scolari returned to Friuli in September, in order to aid Florence against Ladislaus troops. At Lodi, he attended the meeting between Sigismund and the ruler of the city, Giovanni da Vignate, in 1415, the Count of Temesvár witnessed the rebel Jan Hus execution in Konstanz. He fought the Turks again in 1417 in Wallachia, in 1418 around Belgrade, and in 1419 in Bosnia and he was called to Bohemia, where he dealt with the Hussite insurrection from 1420, being severely beaten by Jan Žižka at Havlíčkův Brod, in January 1422. The rumor that Pippo had been killed in Bohemia led to an Ottoman attack in Wallachia against his ally Prince Dan II, prompted by requests from Stefan Lazarević, he moved into Serbia and won a large-scale battle. However, he suffered a stroke and remained impaired, being carried away to Petrovaradin
Pipo of Ozora
–
Fresco by
Andrea del Castagno
Pipo of Ozora
–
Pippo in
Székesfehérvár pantheon
8.
Tommaso Masaccio
–
Masaccio, born Tommaso di Ser Giovanni di Simone, was the first great Italian painter of the Quattrocento period of the Italian Renaissance. Masaccio died at twenty-six and little is known about the circumstances of his death. The name Masaccio is a version of Maso, meaning clumsy or messy Tom. The name may have created to distinguish him from his principal collaborator, also called Maso. Despite his brief career, he had a influence on other artists. He was one of the first to use linear perspective in his painting, employing techniques such as vanishing point in art for the first time, Masaccio was born to Giovanni di Simone Cassai and Jacopa di Martinozzo in Castel San Giovanni di Altura, now San Giovanni Valdarno. His father was a notary and his mother the daughter of an innkeeper of Barberino di Mugello and his family name, Cassai, comes from the trade of his paternal grandfather Simone and granduncle Lorenzo, who were carpenters/cabinet makers. Masaccios father died in 1406, when he was five, later that same year a brother was born. He also was to become a painter, with the nickname of lo Scheggia meaning the splinter, there is no evidence for Masaccios artistic education, however Renaissance painters traditionally began an apprenticeship with an established master around the age of 12. Johannis Simonis pictor populi S. Nicholae de Florentia, the first works attributed to Masaccio are the San Giovenale Triptych, now in the Museum of Cascia di Reggello near Florence, and the Virgin and Child with Saint Anne at the Uffizi. The San Giovenale altarpiece was discovered in 1961 in the church of San Giovenale at Cascia di Reggello and it depicts the Virgin and Child with angels in the central panel, Sts. Bartholomew and Blaise on the panel, and Sts. Juvenal and Anthony Abbot in the right panel, the painting has lost much of its original framing, and its surface is badly abraded. The second work was perhaps Masaccios first collaboration with the older and already-renowned artist, Masolino is believed to have painted the figure of St. Anne and the angels that hold the cloth of honor behind her, while Masaccio painted the more important Virgin and Child on their throne. Masolinos figures are delicate, graceful and somewhat flat, while Masaccios are solid, in Florence, Masaccio could study the works of Giotto and become friends with Brunelleschi and Donatello. It was destroyed when the cloister was rebuilt at the end of the 16th century. With the two artists probably working simultaneously, the painting began around 1425, but for reasons the chapel was left unfinished. As a whole the frescoes represent human sin and its redemption through the actions of Peter, the style of Masaccios scenes shows the influence of Giotto especially
Tommaso Masaccio
–
Detail of St. Peter Raising the Son of Theophilus and St. Peter Enthroned as First Bishop of Antioch, Brancacci Chapel, S. Maria del Carmine, Florence
Tommaso Masaccio
–
San Giovenale Triptych (1422)
Tommaso Masaccio
–
Masolino & Masaccio,
Virgin and Child with Saint Anne (c. 1424), Uffizi
Tommaso Masaccio
–
The Tribute Money, fresco in the
Brancacci Chapel in Santa Maria del Carmine, Florence
9.
Virgin and Child with St. Anne (Masaccio)
–
The Madonna and Child with St. Anne, also known as SantAnna Metterza, is a painting of c.1424 by the Italian Renaissance painter Masaccio, probably in collaboration with Masolino da Panicale. The painting is in the Galleria degli Uffizi in Florence, Italy, the Virgin and Child, with its powerful volume and solid possession of space by means of an assured perspectival structure, is one of the earliest works credited to Masaccio. The figure of St. Anne is much worn and hence to be judged with difficulty, but her hand, masaccios work shows the influence of Donatello in its soft, rounded forms and realistic texture. The ‘Madonna and Child with Saint Anne’ was originally commissioned for the Sant’Ambrogio church in Florence, according to Vasari, “It was placed in the chapel door which leads to the nuns’ parlour”. The figure of Christ is that of a child, a realistic presence. John T. Spike, Masaccio, Rizzoli libri illustrati, Milano 2002 ISBN 88-7423-007-9 AA. VV, Galleria degli Uffizi, collana I Grandi Musei del Mondo, Roma 2003. Pierluigi De Vecchi ed Elda Cerchiari, I tempi dellarte, volume 2, Bompiani, Milano 1999
Virgin and Child with St. Anne (Masaccio)
–
Madonna and Child with St. Anne
10.
Lorenzo Ghiberti
–
Trained as a goldsmith and sculptor, he established an important workshop for sculpture in metal. His book of Commentari contains important writing on art, as well as what may be the earliest surviving autobiography by any artist, Ghiberti was born in Pelago,20 km from Florence. His father was Bartoluccio Ghiberti, an artist and goldsmith, who trained his son in goldsmithing and he then went to work in the Florence workshop of Bartoluccio di Michele, where Antonio del Pollaiolo also received his training. When the bubonic plague struck Florence in 1400, Ghiberti emigrated to Rimini, Ghibertis career was dominated by his two successive commissions for pairs of bronze doors to the Florence Baptistery. They are recognized as a masterpiece of the Early Renaissance. Ghiberti first became famous when as a 23-year-old he won the 1401 competition for the first set of bronze doors, the original plan was for the doors to depict scenes from the Old Testament, but the plan was changed to depict scenes from the New Testament instead. However, the piece made was of the sacrifice of Isaac. To carry out this commission, he set up a workshop in which many artists trained, including Donatello, Masolino, Michelozzo, Uccello. Instead of twenty-eight scenes, he produced ten rectangular scenes in a different style. These were more naturalistic, with perspective and a greater idealization of the subject, dubbed The Gates of Paradise by Michelangelo, this second set remains a major monument of the age of Renaissance humanism. As recommended by Giotto, Andrea Pisano was awarded the commission to design the first set of doors at the Florence Baptistery in 1329, the south doors were originally installed on the east side facing the Duomo, and were transferred to their present location in 1452. These proto-Renaissance doors consist of 28 quatrefoil panels, with the twenty top panels depicting scenes from the life of St. John the Baptist, the eight lower panels depict the eight virtues of hope, faith, charity, humility, fortitude, temperance, justice and prudence. Pisano took six years to them, finishing in 1336. In 1453, Ghiberti and his son Vittorio were commissioned to add a door case to Pisanos existing panels, Ghiberti died in 1455, eight years before the frame was finished leaving a majority of the work to Vitorrio and other members of his workshop. There is a Latin inscription on top of the door, Andreas Ugolini Nini de Pisis me fecit A. D. MCCCXXX, the South Doors were undergoing restoration during September,2016. In 1401, the Arte di Calimala announced a competition to design doors which would eventually be placed on the side of the baptistry. These new doors would serve as an offering to celebrate Florence being spared from relatively recent scourges such as the Black Death in 1348. Many artists competed for this commission and a jury selected seven semifinalists which included Ghiberti, Filippo Brunelleschi, Donatello, at the time of judging, only Ghiberti and Brunelleschi were finalists, and when the judges could not decide, they were assigned to work together on them
Lorenzo Ghiberti
–
Gates of Paradise.
Lorenzo Ghiberti
–
Lorenzo Ghiberti on Gates of Paradise, modern copy
Florence Baptistery
Lorenzo Ghiberti
–
In Flagellation, one of the panels on the North Doors.
Lorenzo Ghiberti
–
The story of
Joseph, a panel from the second set of doors to the
Baptistery
11.
Guilds of Florence
–
The guilds of Florence were secular corporations that controlled the arts and trades in Florence from the twelfth into the sixteenth century. These Arti included seven major guilds, five middle guilds and nine minor guilds, the first of the guilds of Florence of which there is notice is the Arte di Calimala, the cloth-merchants guild, mentioned in a document of about 1150. By 1193 there existed seven such corporate bodies, which elected a council whose members bore the Roman-sounding designation consoli. A single capo was elected to all the business of the guild. Masters of the guilds, who possessed the means of production, took on apprentices and garzoni, each of the Arti was ruled according to its statutes, which had the force of law, and might pass judgement in controversies among its members and with their workers. In the fourteenth century the established the market tribunal called the Mercatanzia to hear causes that involved more than one of the Arti. The Palazzo del Tribunale della Mercatanzia still occupies a prominent place in the piazza della Signoria, during the fifteenth century city watchmen were organized by the Arti to protect closed workshops and warehouses. From the beginning, not all arti were equal, to the original seven Arti Maggiori were added fourteen Arti Minori as the system spread. Six of the nine Priori of the Signoria of Florence were selected from the major guilds, the Seven Greater Guilds are first mentioned distinctly in 1197. The first State enactment appertaining to Guilds was not issued until 1228, the first scheduled list of Florentine guilds encompassing twenty-one guilds, appeared in 1236. The second scheduled list of the guilds, differentiating between seven Greater Guilds and fourteen Lesser Guilds, appeared in 1266. That same year the consuls of the seven Greater Guilds became the Supreme Magistrate of the State, in 1282, three Priors of the Guilds were elected, with powers only inferior to the Chief-Magistrate of the State. The third scheduled list of guilds, finalizing their order of precedence for over a century appeared in a 1282 document known as the Foro Fiorentino, the 1282 document groups the greater and intermediary guilds together, thus creating a new partition of twelve greater guilds and nine minor guilds. The nine lowest guilds were allotted banners and coats-of-arms in 1291, a General Code, Il Statuto, for the guilds was promulgated in 1296 with the founding of the Corte della Mercanzia. The Statutes of all the guilds underwent a complete revision between 1301 and 1307, and the New Code was first adopted by the Calimala, the statutes were revised in 1386. Three new operative guilds were formed in 1378 after the Ciompi revolt, the fourth scheduled list of guilds, appearing in 1415, however, still included only twenty-one guilds, partitioned between seven greater guilds and fourteen lesser guilds. The Grandi attempted in 1427 to reduce the lesser guilds to only seven, but in 1534, the fourteen lesser guilds were arranged into four Universities, and saw many of their privileges curtailed. In Florence a separate Guild of Saint Luke for artists did not exist and they were also frequently members in the confraternity of St. Luke —which had been founded as early as 1349—although it was a separate entity from the guild system
Guilds of Florence
–
Symbols of the guilds in the
Palazzo Spini Feroni
Guilds of Florence
–
The Tribunale di Mercatanzia
Guilds of Florence
–
Torre della Castagna, early headquarters of the Priori of the Guilds of Florence
Guilds of Florence
–
Statue of Michele di Lando, Loggia del Mercato Nuovo, Florence
12.
Jan van Eyck
–
Jan van Eyck was a Flemish/Netherlandish painter active in Bruges. He is often considered one of the founders of Early Netherlandish painting school, the few surviving records of his early life indicate that he was born c. After Johns death in 1425 he was employed in Lille as court painter to Philip the Good, Duke of Burgundy, until 1429 before moving to Bruges, where he lived until his death. Apart from the Ghent Altarpiece and the miniatures of the Turin-Milan Hours, about 20 surviving paintings are confidently attributed to him. Ten, including the Ghent altarpiece, are dated and signed with a variation of his motto, ALS IK KAN always written in Greek characters, Van Eyck painted both secular and religious subject matter, including altarpieces, single panel religious figures and commissioned portraits. His work includes single panels, diptychs, triptychs, and polyptych panels and he was well paid by Philip, who sought that the painter was secure financially and had artistic freedom and could paint whenever he pleased. Van Eycks work comes from the International Gothic style, but he soon eclipsed it, through his developments in the use of oil paint he achieved a new level of virtuosity. Van Eyck was highly influential and his techniques and style were adopted and refined by the Early Netherlandish painters, little is known of Jan van Eycks early life and neither the date nor place of his birth is documented. This suggests a date of birth of 1395 at the latest, however, his apparent age in the London probable self-portrait of 1433 suggests to most scholars a date closer to 1380. He was identified in the late 1500s as having been born in Maaseik and this claim is still considered credible on etymological grounds, considering that Van Eyck means of Eyck which is an old variant spelling of eik. He had a sister Margareta, and at least two brothers, Hubert and Lambert, both painters, but the order of their births has not been established. Another significant, and rather younger, painter who worked in Southern France and it is not known where Jan was educated, but he had knowledge of Latin and used the Greek and Hebrew alphabets in his inscriptions, indicating that he was schooled in the classics. This level of education was rare among painters, and would have made him attractive to the cultivated Philip. Van Eyck served John of Bavaria-Straubing, ruler of Holland, Hainault, by this time van Eyck had assembled a small workshop and was involved in redecorating the Binnenhof palace in The Hague. After Johns death in 1425 he moved to Bruges and came to the attention of Philip the Good c and his emergence as a collectable painter generally follows his appointment to Philips court, and from this point his activity in the court is comparatively well documented. He served as court artist and diplomat, and a was a member of the Tournai painters guild. On 18 October 1427, the Feast of St. Luke, he travelled to Tournai to attend a banquet in his honour, also attended by Robert Campin, a court salary freed him from commissioned work, and allowed a large degree of artistic freedom. Over the following decade van Eycks reputation and technical ability grew, unlike most of his peers his reputation never diminished and he remained well regarded over the following centuries
Jan van Eyck
–
Portrait of a Man in a Turban, possible self-portrait, 1433
Jan van Eyck
–
The Three Marys at the Tomb, painted or begun by Jan's brother
Hubert van Eyck, perhaps between 1410 and 1420, completed by members of Jan's workshop c 1440.
Jan van Eyck
–
Ghent Altarpiece, c. 1432, Saint Bavo Cathedral, Ghent
Jan van Eyck
–
The Arnolfini Portrait, 1434;
National Gallery, London
13.
Hungary
–
Hungary is a unitary parliamentary republic in Central Europe. With about 10 million inhabitants, Hungary is a member state of the European Union. The official language is Hungarian, which is the most widely spoken language in Europe. Hungarys capital and largest metropolis is Budapest, a significant economic hub, major urban areas include Debrecen, Szeged, Miskolc, Pécs and Győr. His great-grandson Stephen I ascended to the throne in 1000, converting the country to a Christian kingdom, by the 12th century, Hungary became a middle power within the Western world, reaching a golden age by the 15th century. Hungarys current borders were established in 1920 by the Treaty of Trianon after World War I, when the country lost 71% of its territory, 58% of its population, following the interwar period, Hungary joined the Axis Powers in World War II, suffering significant damage and casualties. Hungary became a state of the Soviet Union, which contributed to the establishment of a four-decade-long communist dictatorship. On 23 October 1989, Hungary became again a democratic parliamentary republic, in the 21st century, Hungary is a middle power and has the worlds 57th largest economy by nominal GDP, as well as the 58th largest by PPP, out of 188 countries measured by the IMF. As a substantial actor in several industrial and technological sectors, it is both the worlds 36th largest exporter and importer of goods, Hungary is a high-income economy with a very high standard of living. It keeps up a security and universal health care system. Hungary joined the European Union in 2004 and part of the Schengen Area since 2007, Hungary is a member of the United Nations, NATO, WTO, World Bank, the AIIB, the Council of Europe and Visegrád Group. Well known for its cultural history, Hungary has been contributed significantly to arts, music, literature, sports and science. Hungary is the 11th most popular country as a tourist destination in Europe and it is home to the largest thermal water cave system, the second largest thermal lake in the world, the largest lake in Central Europe, and the largest natural grasslands in Europe. The H in the name of Hungary is most likely due to historical associations with the Huns. The rest of the word comes from the Latinized form of Medieval Greek Oungroi, according to an explanation the Greek name was borrowed from Proto-Slavic Ǫgǔri, in turn borrowed from Oghur-Turkic Onogur. Onogur was the name for the tribes who later joined the Bulgar tribal confederacy that ruled the eastern parts of Hungary after the Avars. The Hungarians likely belonged to the Onogur tribal alliance and it is possible they became its ethnic majority. The Hungarian endonym is Magyarország, composed of magyar and ország, the word magyar is taken from the name of one of the seven major semi-nomadic Hungarian tribes, magyeri
Hungary
–
Italian fresco depicting a Hungarian warrior shooting backwards
Hungary
–
Flag
Hungary
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Hungarian raids in the 10th century
Hungary
–
King
Saint Stephen, the first
King of Hungary, converted the nation to Christianity
14.
Pope Martin V
–
Pope Martin V, born Otto Colonna, was Pope from 11 November 1417 to his death in 1431. His election effectively ended the Western Schism and he was born at Genazzano, the son of Agapito Colonna and Caterina Conti, between January 26 and February 20,1369. He belonged to one of the oldest and most distinguished families of Rome and his brother Giordano became Prince of Salerno and Duke of Venosa, while his sister Paola was Lady of Piombino between 1441 and 1445. Oddone studied law at the University of Pavia and he became apostolic protonotary under Pope Urban VI, and was created Cardinal-Deacon of San Giorgio al Velabro by Pope Innocent VII in 1405. In 1409 he took part in the Council of Pisa, and was one of the supporters of Antipope Alexander V and he was excommunicated for this in 1411 by Pope Gregory XII. Oddone was with John XXIIIs entourage at the Council of Constance, later he returned to Constance and took part in the process leading to the deposition of John XXIII. After deposing Antipope John XXIII in 1415, the Council of Constance was long divided by the claims of Pope Gregory XII. Martin was elected pope, at the age of 48, at the Council of Constance on St. Martins Day,11 November 1417, by a conclave consisting of twenty-three cardinals and he was ordained a priest on Saturday November 13,1417 and consecrated bishop the next day. Martin left Constance at the close of the council, but travelled slowly through Italy and his authority in Rome was represented by his brother Giordano, who had fought under Muzio Attendolo against the condottiero Braccio da Montone. After a long stay in Florence, Martin was thus able to enter Rome in September 1420 and he at once set to work, establishing order and restoring the dilapidated churches, palaces, bridges, and other public structures. For this reconstruction he engaged some famous masters of the Tuscan school, by 1415 Bohemia was in turmoil and the subject of much discussion at the Council of Constance. Adherents of Jan Hus adopted the practice of Communion under both kinds, the Council sent earnest letters to the civil and ecclesiastical authorities in Bohemia, insisting they deal with the heresy. Bohemian and Moravian nobles responded that the sentence on Hus was unjust and insulting to their country, prague was placed under interdict for sheltering the excommunicate Johann of Jesenic. Beghards arrived attracted by Bohemias reputation for religious liberty, in 1419 King Wenceslaus, who had resisted what he considered interference in his kingdom, commanded that all ejected Catholic beneficiaries should be reinstated in their offices and revenues. In Kuttenberg, hundreds of captured Hussites were thrown by the miners into the shafts of disused silver mines, King Wenceslaus swore death to all the rebels, but died of a stroke in August,1419. The next months were marked by deeds of violence, many citizens, Wenceslaus was succeeded by his brother Sigismund, German Emperor and King of Hungary, who prepared to restore order. On 1 March 1420, Pope Martin V issued a Bull inviting all Christians to unite in a crusade against the Wycliffites, Hussites, according to Burton Martin authorized a crusade against Africa in 1418 in relation to the slave trade. Martin declared two Crusades in 1420, the first was against heretics in Bohemia, as described above
Pope Martin V
–
Pope Martin V
Pope Martin V
–
Pope Martin's election.
15.
Castiglione Olona
–
Castiglione Olona is a town and comune in the province of Varese, in Lombardy. As of 31 december,2015, it has a population of 7,753 inhabitants, the town of Castiglione Olona rose around the fifth century AC under the roman empire domain. Consequently, the Lombards entered and took possession of the village until the Castiglioni family became sole proprietor of the land around 1000 AC, the family engaged in many battles for the rule of the lands so they had walls built all around the village to protect themselves from enemies. Today only a part of the walls near the fortress is visitable. Castiglione Olona is twinned with, Étupes, France
Castiglione Olona
–
Castiglione Olona
16.
Vanishing point
–
In graphical perspective, a vanishing point is a point in the image plane where the projections of a set of parallel lines in space intersect. Traditional linear drawings use objects with one to three sets of parallels, defining one to three vanishing points. The vanishing point may also be referred to as the point, as lines having the same directional vector, say D. Mathematically, let q ≡ be a point lying on the plane, where f is the focal length, and let vq ≡ be the unit vector associated with q. When the image plane is parallel to two axes, lines parallel to the axis which is cut by this image plane will meet at infinity i. e. at the vanishing point. Lines parallel to the two axes will not form vanishing points as they are parallel to the image plane. Similarly, when the plane intersects two world-coordinate axes, lines parallel to those planes will meet at infinity and form two vanishing points. In three-point perspective the image plane intersects the x, y, the vanishing point theorem is the principal theorem in the science of perspective. It says that the image in a picture plane π of a line L in space, not parallel to the picture, is determined by its intersection with π, some authors have used the phrase, the image of a line includes its vanishing point. Guidobaldo del Monte gave several verifications, and Humphry Ditton called the result the main and Great Proposition. She notes, in terms of geometry, the vanishing point is the image of the point at infinity associated with L. As a vanishing point originates in a line, so a vanishing line originates in a plane α that is not parallel to the picture π. Given the eye point O, and β the plane parallel to α and lying on O, to put it simply, the vanishing line is obtained by the intersection of the image plane with a plane parallel to the ground plane, passing through the camera center. For different sets of line, their respective vanishing points will lie on this line. The horizon line is a line that represents the eye level of the observer. If the object is below the line, its vanishing lines angle up to the horizon line. If the object is above, they slope down, all vanishing lines end at the horizon line. Proof, Consider the ground plane π, as y = c which is, for the sake of simplicity, also, consider a line L that lies in the plane π, which is defined by the equation ax + bz = d
Vanishing point
–
A vanishing point can be seen at the far end of this railroad.
Vanishing point
–
A 2D construction of perspective viewing, showing the formation of a vanishing point
Vanishing point
–
Pietro Perugino 's usage of perspective in the
Delivery of the Keys fresco at the
Sistine Chapel (1481–82) helped bring the
Renaissance to Rome.
17.
Uffizi
–
The Uffizi Gallery is a prominent art museum located adjacent to the Piazza della Signoria in central Florence, region of Tuscany, Italy. The building of Uffizi complex was begun by Giorgio Vasari in 1560 for Cosimo I de Medici so as to accommodate the offices of the Florentine magistrates, hence the name uffizi, the construction was later continued by Alfonso Parigi and Bernardo Buontalenti and completed in 1581. The niches in the piers that alternate with columns filled with sculptures of artists in the 19th century. The Uffizi brought together under one roof the administrative offices, the Tribunal and the Archivio di Stato, the state archive. He commissioned from the architect Buontalenti the design of the Tribuna degli Uffizi that collected a series of masterpieces in one room, over the years, more sections of the palace were recruited to exhibit paintings and sculpture collected or commissioned by the Medici. The gallery had been open to visitors by request since the sixteenth century, because of its huge collection, some of its works have in the past been transferred to other museums in Florence—for example, some famous statues to the Bargello. A project was finished in 2006 to expand the exhibition space some 6,000 metres² to almost 13,000 metres². On 27 May 1993, a car exploded in Via dei Georgofili and damaged parts of the palace. The most severe damage was to the Niobe room and classical sculptures and neoclassical interior, the identity of the bomber or bombers are unknown, although it was almost certainly attributable to the Sicilian Mafia who were engaged in a period of terrorism at that time. Today, the Uffizi is one of the most popular tourist attractions of Florence, in high season, waiting times can be up to five hours. In early August 2007, Florence experienced a heavy rainstorm, the Gallery was partially flooded, with water leaking through the ceiling, and the visitors had to be evacuated. There was a more significant flood in 1966 which damaged most of the art collections in Florence severely. Here is a selection from the collection, The collection also contains some ancient sculptures, such as the Arrotino. Collections of the Uffizi Official website Uffizi – Google Art Project
Uffizi
–
Narrow courtyard between palace's two wings with view toward the
Arno.
Uffizi
–
Restored Niobe room represents Roman copies of late
Hellenistic art. View of daughter of
Niobe bent by terror.
Uffizi
–
Niobide rises on a rock
Uffizi
–
View of hallway. The walls were originally covered with tapestries.
18.
Naples
–
Naples is the capital of the Italian region Campania and the third-largest municipality in Italy, after Rome and Milan. In 2015, around 975,260 people lived within the administrative limits. The Metropolitan City of Naples had a population of 3,115,320, Naples is the 9th-most populous urban area in the European Union with a population of between 3 million and 3.7 million. About 4.4 million people live in the Naples metropolitan area, Naples is one of the oldest continuously inhabited cities in the world. Bronze Age Greek settlements were established in the Naples area in the second millennium BC, a larger colony – initially known as Parthenope, Παρθενόπη – developed on the Island of Megaride around the ninth century BC, at the end of the Greek Dark Ages. Naples remained influential after the fall of the Western Roman Empire, thereafter, in union with Sicily, it became the capital of the Two Sicilies until the unification of Italy in 1861. Naples was the most-bombed Italian city during World War II, much of the citys 20th-century periphery was constructed under Benito Mussolinis fascist government, and during reconstruction efforts after World War II. The city has experienced significant economic growth in recent decades, and unemployment levels in the city, however, Naples still suffers from political and economic corruption, and unemployment levels remain high. Naples has the fourth-largest urban economy in Italy, after Milan, Rome and it is the worlds 103rd-richest city by purchasing power, with an estimated 2011 GDP of US$83.6 billion. The port of Naples is one of the most important in Europe, numerous major Italian companies, such as MSC Cruises Italy S. p. A, are headquartered in Naples. The city also hosts NATOs Allied Joint Force Command Naples, the SRM Institution for Economic Research, Naples is a full member of the Eurocities network of European cities. The city was selected to become the headquarters of the European institution ACP/UE and was named a City of Literature by UNESCOs Creative Cities Network, the Villa Rosebery, one of the three official residences of the President of Italy, is located in the citys Posillipo district. Naples historic city centre is the largest in Europe, covering 1,700 hectares and enclosing 27 centuries of history, Naples has long been a major cultural centre with a global sphere of influence, particularly during the Renaissance and Enlightenment eras. In the immediate vicinity of Naples are numerous culturally and historically significant sites, including the Palace of Caserta, culinarily, Naples is synonymous with pizza, which originated in the city. Neapolitan music has furthermore been highly influential, credited with the invention of the romantic guitar, according to CNN, the metro stop Toledo is the most beautiful in Europe and it won also the LEAF Award 2013 as Public building of the year. Naples is the Italian city with the highest number of accredited stars from the Michelin Guide, Naples sports scene is dominated by football and Serie A club S. S. C. Napoli, two-time Italian champions and winner of European trophies, who play at the San Paolo Stadium in the south-west of the city, the Phlegraean Fields around Naples has been inhabited since the Neolithic period. The earliest Greek settlements were established in the Naples area in the second millennium BC, sailors from the Greek island of Rhodes established a small commercial port called Parthenope on the island of Megaride in the ninth century BC
Naples
–
Naples Napoli
Naples
–
Ancient map of the Bay of Naples area from Vatican Museum
Naples
–
A scene featuring the
siren Parthenope, the mythological founder of Naples.
Naples
–
The
Gothic Battle of Mons Lactarius on
Vesuvius, painted by
Alexander Zick.
19.
Basilica of St Mary Major
–
The Basilica is located at 34 Piazza dellEsquilino, some five blocks southwest of Stazione Termini. Pursuant to the Lateran Treaty of 1929 between the Holy See and Italy, the Basilica is within Italian territory and not the territory of the Vatican City State and they prayed that she might make known to them how they were to dispose of their property in her honour. On 5 August, at the height of the Roman summer, in obedience to a vision of the Virgin Mary which they had the same night, the couple built a basilica in honour of Mary on the very spot which was covered with snow. From the fact that no mention whatever is made of this alleged miracle until a few hundred years later and it would seem that the legend has no historical basis. The legend is first reported only after AD1000 and it may be implied in what the Liber Pontificalis, of the early 13th century, says of Pope Liberius, He built the basilica of his own name near the Macellum of Livia. Its prevalence in the 15th century is shown in the painting of the Miracle of the Snow by Masolino da Panicale. The feast was originally called Dedicatio Sanctae Mariae, and was celebrated only in Rome until inserted for the first time into the General Roman Calendar, with ad Nives added to its name, in 1568. A congregation appointed by Pope Benedict XIV in 1741 proposed that the reading of the legend be struck from the Office, no action was taken on the proposal until 1969, when the reading of the legend was removed and the feast was called In dedicatione Basilicae S. Mariae. The legend is commemorated by dropping white rose petals from the dome during the celebration of the Mass. The earliest building on the site was the Liberian Basilica or Santa Maria Liberiana, Liberiana is still included in some versions of the basilicas formal name, and Liberian Basilica may be used as a contemporary as well as historical name. This building was replaced under Pope Sixtus III by the present structure dedicated to Mary. No Catholic church can be honoured with the title of basilica unless by apostolic grant or from immemorial custom, St. Mary Major is one of the only four that hold the title of major basilica. The other three are the Basilicas of St. John in the Lateran, St. Peters, along with all of the other four Major Basilicas, St. Mary Major is also styled a Papal basilica. St. Mary Major was associated with the Patriarchate of Antioch, Philip Neri on 25 February 1552. It is agreed that the present church was built under Pope Sixtus III, the dedicatory inscription on the triumphal arch, Sixtus Episcopus plebi Dei, is an indication of that Popes role in the construction. The church retains the core of its structure, despite several additional construction projects. Santa Maria Maggiore, one of the first churches built in honour of the Virgin Mary, was erected in the aftermath of the Council of Ephesus of 431. Pope Sixtus III built it to commemorate this decision and these fines enabled the papacy to carry out through the 5th century an ambitious building program, including Santa Maria Maggiore
Basilica of St Mary Major
–
The Basilica di Santa Maria Maggiore is the largest church in Rome dedicated to the
Blessed Virgin Mary
Basilica of St Mary Major
–
The
Blessed Virgin Mary overlooking
Pope Liberius as the
Pontiff scraped the foundation of the basilica into the snow. By Italian artist
Masolino da Panicale. circa 15th-century.
Museo di Capodimonte.
Basilica of St Mary Major
–
Map by Giacomo Lauro and Antonio Tempesta depicting Saint Mary Major among the
Seven Pilgrim Churches of Rome in 1599, in view of the
Holy Year of 1600.
Basilica of St Mary Major
–
The Piazza and Church of Santa Maria Maggiore, by
Giovanni Paolo Pannini
20.
Museo di Capodimonte
–
Museo di Capodimonte is an art museum located in the Palace of Capodimonte, a grand Bourbon palazzo in Naples, Italy. The museum is the repository of Neapolitan painting and decorative art, with several important works from other Italian schools of painting. It is one of the largest museums in Italy, the vast collection at the museum traces its origins back to 1738. Over the years the palace was enlarged and filled with more art, in 1787, on the advice of Jacob Philipp Hackert, a laboratory for the restoration of paintings was created. When the Parthenopaean Republic was declared in 1799, Ferdinand fled to Palermo on board Nelsons Vanguard, what remained was looted by the French troops of General Championnet who were billeted there during the short life of the Republic in 1799. Later on during the ten years of French reoccupation, the art collection was transferred to the Naples National Archaeological Museum, when King Ferdinand returned from Sicily in 1815, he employed many painters and sculptors to work on the redecoration of the palace. It was finally completed in 1840, and a gallery housing contemporary art was added, after the palace passed in 1861 to the House of Savoy, further pieces were added to the art collections, appointing Domenico Morelli as consultant for new acquisitions. They also added a collection of historic firearms and other weapons. In 1866, the boudoir of Maria Amalia of Saxony was transferred to Capodimonte from the Palace of Portici, after the end of the monarchy, the palace became purely a national museum in 1950, with many of the exhibits being returned from the National Museum. Elsewhere in the palace the royal apartments are furnished with antique 18th-century furniture, le Guide di Dove - Campania, Corriere della sera,2007. Il Museo di Capodimonte, valori di Napoli, Pubblicomit,2002
Museo di Capodimonte
–
Palace of Capodimonte
Museo di Capodimonte
–
Toulouse Altarpiece by
Simone Martini. c. 1317
Museo di Capodimonte
–
Crucifixion by
Masaccio. c. 1426
Museo di Capodimonte
–
Portrait of Francesco Gonzaga by
Andrea Mantegna. c. 1461
21.
Alte Pinakothek
–
The Alte Pinakothek is an art museum located in the Kunstareal area in Munich, Germany. It is one of the oldest galleries in the world and houses one of the most famous collections of Old Master paintings, the name Alte Pinakothek refers to the time period covered by the collection—from the fourteenth to the eighteenth century. The Neue Pinakothek covers nineteenth-century art, and the recently opened Pinakothek der Moderne exhibits modern art, all three galleries are part of the Bavarian State Picture Collection, an organization of the Free state of Bavaria. King Ludwig I of Bavaria ordered Leo von Klenze to erect a new building for the gallery for the Wittelsbach collection in 1826, even the neo-renaissance exterior of the Pinakothek clearly stands out from the castle-like museum type usual in the early 19th Century. It is closely associated with the function and structure of the building as a museum, the museum galleries were designed to display Rubenss Last Judgment, one of the largest canvasses ever painted. The museum building was damaged by bombing in World War II but was reconstructed and reopened to the public in the late 1950s. The ornate, pre-war interior including the large loggia facing the south façade in the floor were not restored. A new wall covering was created in 2008 for the rooms on the floor of the Alte Pinakothek with a woven. The new color scheme of green and red draws on the design of the rooms, Elector Maximilian I commissioned in 1616 four hunt paintings from Peter Paul Rubens and acquired many other paintings, especially the work of Albrecht Dürer. He even obtained The Four Apostles in the year 1627 due to pressure on the Nuremberg city fathers, a few years later however 21 paintings were confiscated and moved to Sweden during the occupation of Munich in the Thirty Years war. Maximilians grandson Maximilian II Emanuel purchased a number of Dutch. Under Max Emanuels successors, the purchases were discontinued due to the tight budget. Also Max Emanuels cousin Johann Wilhelm, Elector Palatine collected Netherlandish paintings and he ordered from Peter Paul Rubens the The Big Last Judgment and received Raphaels Canigiani Holy Family as a dowry of his wife. Charles Theodore, Elector of Bavaria had a preference for Netherlandish paintings as well. By the late 18th century a number of the paintings were already displayed in Schleissheim Palace. Even though 72 paintings including The Battle of Alexander at Issus were taken to Paris in 1800 by the armies of Napoleon I. The Louvre held it until 1804, when Napoleon declared himself Emperor of France, when the Prussians captured the Château de Saint-Cloud in 1814 as part of the War of the Sixth Coalition, they supposedly found the painting hanging in Napoleons bathroom. Most of the paintings have not been returned, with the secularisation many paintings from churches and former monasteries entered into state hands
Alte Pinakothek
–
Alte Pinakothek, eastern façade
Alte Pinakothek
–
Alte Pinakothek façade
Alte Pinakothek
–
Alte Pinakothek, hand-painted photograph, c. 1890
Alte Pinakothek
–
Room IX
22.
Kunsthalle Bremen
–
The Kunsthalle Bremen is an art museum in Bremen, Germany. It is located close to the Bremen Old Town on the Culture Mile, the Kunsthalle was built in 1849, enlarged in 1902 by architect Eduard Gildemeister, and expanded several more times, most notably in 2011. Since 1977, the building has been designated a Kulturdenkmal on Germanys buildings heritage list, the museum houses a collection of European paintings from the 14th century to the present day, sculptures from the 16th to 21st centuries and a New Media collection. The New Media section features works by John Cage, Otto Piene, Peter Campus, Olafur Eliasson, the Department of Prints and Drawings has 220,000 sheets from the 15th to 20th centuries, one of largest collections of its kind in Europe. In 1823, a group of 34 businessmen interested in art founded an Art Society in Bremen with the aim of spreading a sense of beauty and it is one of the oldest such societies in Germany. The first years of the activities were focused on private art exhibitions, with the acquisition of works backed financially from ticket proceeds. Ten years after its founding, the Society owned 13 paintings,585 drawings and 3917 leaf prints. The majority of the paintings were Old Masters, including the famous Madonna of Masolino, after 1843, large public exhibitions were organized in association with similar associations in Hannover, Lübeck, Greifswald, Rostock and Stuttgart. By 1846 the society had grown to 575 members, the Kunstverein Bremen is still the exclusive owner of the Kunsthalle Bremen and today has over 8000 members. The society is funded from foundations, private donations, bequests, supported by numerous foundations and patrons, the Art Society put out a competitive bid for a new museum building. A then very young Lueder Rutenberg - himself a member of the Art Association - won against prominent competitors, the Society broke ground on the Kunsthalle on 1 July 1847, becoming the first Society in Germany with its own building. The construction project was located on a rubbish dump in the vicinity of the old city ramparts. Rutenbergs design was of a dignified but understated two-story building with a central projection of round arches. While the collections were largely owned by the Kunstverein, the property itself was owned by the city, four stone figures over the entrance are of Raphael, Michelangelo, Dürer, and Rubens, created by the sculptor Adolph Steinhäuser. After another competition among Bremen architects, an enlargement was commissioned in 1898. Albert Dunkel was selected to design the interiors, Eduard Gildemeister for the sandstone facade. The foundation work was begun in 1899 and on 15 February 1902 the opening took place. The facade was under construction until 1904, the expansion was funded by foundations and businessmen in Bremen
Kunsthalle Bremen
–
The restored Kunsthalle Bremen, 2011
Kunsthalle Bremen
–
Madonna with Child (1423)
Masolino da Panicale
Kunsthalle Bremen
–
Die Jugend des Zeus (1905)
Lovis Corinth
Kunsthalle Bremen
–
The Kunsthalle Bremen in 1849
23.
Cappella Brancacci
–
The Brancacci Chapel is a chapel in the Church of Santa Maria del Carmine in Florence, central Italy. It is sometimes called the Sistine Chapel of the early Renaissance for its cycle, among the most famous. Construction of the chapel was commissioned by Pietro Brancacci and begun in 1386, public access is currently gained via the neighbouring convent, designed by Brunelleschi. The church and the chapel are treated as separate places to visit and as such have different opening times, the patron of the pictorial decoration was Felice Brancacci, descendant of Pietro, who had served as the Florentine ambassador to Cairo until 1423. Upon his return to Florence, he hired Masolino da Panicale to paint his chapel, by the time Masolino returned he was learning from his talented former student. However, Masaccio was called to Rome before he could finish the chapel, portions of the chapel were completed later by Filippino Lippi. Unfortunately during the Baroque period some of the paintings were seen as unfashionable, in his frescos, Masaccio carries out a radical break from the medieval pictorial tradition, by adhering to the new Renaissance perspectival conception of space. Thus, perspective and light create deep spaces where volumetrically constructed figures move in a strongly individualised human dimension, Masaccio therefore continues on Giottos path, detaching himself from a symbolic vision of man and propounding a greater realistic painting. The cycle from the life of Saint Peter was commissioned as patron saint from Pietro Brancacci, the paintings are explained below in their narrative order. In contrast with Masaccios Expulsion, this is a serene and innocent raffiguration, the cycle begins with this painting by Masolino, placed on the higher rectangle of the arch delimiting the Chapel, within the pillar thickness. The painting shows Adam standing near Eve, they look at each other with measured postures, as she prepares to bite on the apple, the snake has a head with thick blond hair, much idealised. The scene is aulic in its presentation, with gestures and style conveying tones of late International Gothic, light, which models the figures without sharp angles, is soft and embracing, the dark background makes the body stand out in their sensual plasticity, almost suspended in space. Masaccios masterpiece Expulsion from the Garden of Eden is the first fresco on the part of the chapel, on the left wall. It is famous for its energy and unprecedented emotional realism. It contrasts dramatically with Masolinos delicate and decorative image of Adam and Eve before the fall, painted on the opposite wall. It presents a dramatic intensity, with an angel who hovers over Adam and Eve indicating the way out of the Garden of Eden. The bodies dynamism, especially Adams, gives an unprecedented passion to the figures, firmly planted on ground, many are the details which increase the emotional drama, Adams damp and sticky hair, the angels posture, foreshortened as if diving down from above. Eves position is from an ancient representation, that of Venus Pudica, the foliage covering the couples nudities was removed during a restoration in 1990
Cappella Brancacci
–
The Tribute Money, fresco by Masaccio in the Brancacci Chapel.
Cappella Brancacci
–
Schematics of the Brancacci Chapel paintings.
Cappella Brancacci
–
The Temptation of Adam and Eve, by
Masolino da Panicale.
Cappella Brancacci
–
The Expulsion from the Garden of Eden, after restoration.
24.
Empoli
–
Empoli is a town and comune in Tuscany, Italy, about 20 kilometres southwest of Florence, to the south of the Arno in a plain formed by the river. The plain has been usable for agriculture since Roman times, the communes territory becomes hilly as it departs from the river. Empoli is on the railway line from Florence to Pisa. Empoli has a tradition as an agricultural centre. It has given its name to a variety of artichoke. Archaeological finds have revealed that Empoli was already settled in the early Roman Empire times, the river acted as a communication way for the trade of agricultural products, together with the local amphorae. In the Tabula Peutingeriana of the 4th century Empoli is called in portu as a port on the Roman road Via Quinctia. Empoli was also on the Via Salaiola, connecting to Volterras salt ponds, since the 8th century Empoli consolidated as a town around the castle, known as Emporium or Empolis. In 1119 it was absorbed into the Guidi counts possessions, in 1182 it went under Florentine rule. In 1260, after the Battle of Montaperti, Empoli was the seat of a council in which Farinata degli Uberti opposed the destruction of Florence. Later Empoli became an important fortress, and was repeatedly sacked and attacked. In 1530 its fall marked the end of the independence of the Florentine Republic, the Piazza Farinata degli Uberti, also known as Piazza dei Leoni, is marked in its centre by a fountain by Luigi Pampaloni. Here lies the Collegiata di SantAndrea, the citys monument. The church probably existed as early as the 5th century AD and it was rebuilt in the 11th century by the pievano Rolando, by permission of the Countess Emilia dei Conti Guidi. At the mid of the century a Romanesque arcaded façade was added, it was decorated with bi-chrome marble stones. The green stones were from Prato, the ones are from Carrara. In 1735 the architect Ferdinando Ruggieri extensively modified the façade and the interior structure, the Palazzo Ghibellino is the former palace of the Guidi counts. It was probably erected in the 11th century, in 1260 it was the seat of the Ghibelline parliament where the fate of the Florences Guelphs was decided
Empoli
–
Piazza Farinata degli Uberti
Empoli
–
Pietà by
Masolino da Panicale.
25.
Rome
–
Rome is a special comune and the capital of Italy. Rome also serves as the capital of the Lazio region, with 2,873,598 residents in 1,285 km2, it is also the countrys largest and most populated comune and fourth-most populous city in the European Union by population within city limits. It is the center of the Metropolitan City of Rome, which has a population of 4.3 million residents, the city is located in the central-western portion of the Italian Peninsula, within Lazio, along the shores of the Tiber. Romes history spans more than 2,500 years, while Roman mythology dates the founding of Rome at only around 753 BC, the site has been inhabited for much longer, making it one of the oldest continuously occupied sites in Europe. The citys early population originated from a mix of Latins, Etruscans and it was first called The Eternal City by the Roman poet Tibullus in the 1st century BC, and the expression was also taken up by Ovid, Virgil, and Livy. Rome is also called the Caput Mundi, due to that, Rome became first one of the major centres of the Italian Renaissance, and then the birthplace of both the Baroque style and Neoclassicism. Famous artists, painters, sculptors and architects made Rome the centre of their activity, in 1871 Rome became the capital of the Kingdom of Italy, and in 1946 that of the Italian Republic. Rome has the status of a global city, Rome ranked in 2014 as the 14th-most-visited city in the world, 3rd most visited in the European Union, and the most popular tourist attraction in Italy. Its historic centre is listed by UNESCO as a World Heritage Site, monuments and museums such as the Vatican Museums and the Colosseum are among the worlds most visited tourist destinations with both locations receiving millions of tourists a year. Rome hosted the 1960 Summer Olympics and is the seat of United Nations Food, however, it is a possibility that the name Romulus was actually derived from Rome itself. As early as the 4th century, there have been alternate theories proposed on the origin of the name Roma. There is archaeological evidence of occupation of the Rome area from approximately 14,000 years ago. Evidence of stone tools, pottery and stone weapons attest to about 10,000 years of human presence, several excavations support the view that Rome grew from pastoral settlements on the Palatine Hill built above the area of the future Roman Forum. Between the end of the age and the beginning of the Iron age. However, none of them had yet an urban quality, nowadays, there is a wide consensus that the city was gradually born through the aggregation of several villages around the largest one, placed above the Palatine. All these happenings, which according to the excavations took place more or less around the mid of the 8th century BC. Despite recent excavations at the Palatine hill, the view that Rome has been indeed founded with an act of will as the legend suggests in the middle of the 8th century BC remains a fringe hypothesis. Traditional stories handed down by the ancient Romans themselves explain the earliest history of their city in terms of legend and myth
Rome
Rome
Rome
Rome
26.
Basilica di San Clemente
–
The Basilica of Saint Clement is a Roman Catholic minor basilica dedicated to Pope Clement I located in Rome, Italy. The archaeological traces of the history were discovered in the 1860s by Joseph Mullooly. The lowest levels of the present basilica contain remnants of the foundation of a possibly republican era building that might have destroyed in the Great Fire of 64. An industrial building – probably the imperial mint of Rome from the late 1st century A. D. onwards, was built or remodelled on the site during the Flavian period. Shortly after an insula, or apartment block, was also built and it was separated from the industrial building by a narrow alleyway. About a hundred years later a mithraeum, a sanctuary of the cult of Mithras, was built in the courtyard of the insula. The main cult room, which is about 9. 6m long and 6m wide, was discovered in 1867, the exedra, the shallow apse at the far end of the low vaulted space, was trimmed with pumice to render it more cave-like. Central to the room of the sanctuary was found an altar, in the shape of a sarcophagus. The torchbearers Cautes and Cautopates appear on respectively the left and right faces of the same monument, a dedicatory inscription identifies the donor as one pater Cnaeus Arrius Claudianus, perhaps of the same clan as Titus Arrius Antoninus mother. Other monuments discovered in the include a bust of Sol kept in the sanctuary in a niche near the entrance. Fragments of statuary of the two torch bearers were also found, one of the rooms adjoining the main chamber has two oblong brickwork enclosures, one of which was used as a ritual refuse pit for remnants of the cult meal. All three monuments mentioned above are still on display in the mithraeum, a fourth monument, – a statue of St. Peter found in the speleums vestibule and still on display there – is not of the mysteries. At some time in the 4th century, the level of the industrial building was filled in with dirt and rubble. An apse was built out over part of the domus, whose lowest floor, restorations were undertaken in the 9th century and ca 1080-99. The early basilica was the site of councils presided over by Pope Zosimus and Symmachus, the last major event that took place in the lower basilica was the election in 1099 of Cardinal Rainerius of St Clemente as Pope Paschal II. Apart from those in Santa Maria Antiqua, the largest collection of Early Medieval wall paintings in Rome is to be found in the basilica of San Clemente. Clement, and on the life of St. Alexius, sisinnius encourages the servants in Italian Fili de le pute, traite. Which, translated into English means, Come on, you sons of bitches, carvoncello, give it to him from the back with the pole
Basilica di San Clemente
–
Basilica of Saint Clement Basilica di San Clemente al Laterano (Italian)
Basilica di San Clemente
–
Plan of the church
Basilica di San Clemente
–
Mithraeum in the basement, 2nd century
Basilica di San Clemente
–
Interior of the second basilica
27.
Pinacoteca Vaticana
–
The Vatican Museums are the museums of the Vatican City and are located within the citys boundaries. The museums contain roughly 70,000 works, of which 20,000 are on display, and currently employ 640 people who work in 40 different administrative, scholarly, Pope Julius II founded the museums in the early 16th century. The Sistine Chapel, with its ceiling decorated by Michelangelo and the Stanze di Raffaello decorated by Raphael, are on the route through the Vatican Museums. In 2013, they were visited by 6 million people, which combined makes it the 6th most visited art museum in the world, there are 54 galleries, or sale, in total, with the Sistine Chapel, notably, being the very last sala within the Museum. It is one of the largest museums in the world, in 2017, the Museums official website and social media presence was completely redone, in accord with current standards and appearances for modern websites. Pope Julius II sent Giuliano da Sangallo and Michelangelo Buonarroti, who were working at the Vatican, on their recommendation, the pope immediately purchased the sculpture from the vineyard owner. The pope put the sculpture of Laocoön and his sons on public display at the Vatican exactly one month after its discovery, the Museum Christianum was founded by Benedict XIV, and some of the Vatican collections formed the Lateran Museum, which Pius IX founded by decree in 1854. The Museums celebrated their 500th anniversary in October 2006 by permanently opening the excavations of a Vatican Hill necropolis to the public, on 1 January 2017 Barbara Jatta became the Director of the Vatican Museums, replacing Antonio Paolucci who had been director since 2007. The art gallery was housed in the Borgia Apartment until Pope Pius XI ordered construction of a proper building, the new building, designed by Luca Beltrami, was inaugurated on 27 October 1932. The museum has paintings including, Giottos Stefaneschi Triptych Olivuccio di Ciccarello, Opere di Misericordia Raphaels Madonna of Foligno, Oddi Altarpiece, the group of museums includes several sculpture museums surrounding the Cortile del Belvedere. The museum takes its name from two popes, Clement XIV and Pius VI, the pope who brought the museum to completion, Clement XIV came up with the idea of creating a new museum in Innocent VIIIs Belvedere palace and started the refurbishment work. Pope Clement XIV founded the Pio-Clementino museum in 1771, and originally it contained the Renaissance, the museum and collection were enlarged by Clements successor Pius VI. Today, the museum works of Greek and Roman sculpture. Some notable galleries are, Greek Cross Gallery, with the porphyri sarcophagi of Constance and Saint Helen, daughter and mother of Constantine the Great. Sala Rotonda, shaped like a miniature Pantheon, the room has impressive ancient mosaics on the floors, Gallery of the Statues, as its name implies, holds various important statues, including Sleeping Ariadne and the bust of Menander. It also contains the Barberini Candelabra, Gallery of the Busts, Many ancient busts are displayed. Cabinet of the Masks, The name comes from the mosaic on the floor of the gallery, found in Villa Adriana, along the walls, several famous statues are shown including the Three Graces. One wove the thread of life, second nurtured it, third cut it. The center piece is Belvedere Torso, revered by Michelangelo and other Renaissance men, sala degli Animali, So named because of the many ancient statues of animals
Pinacoteca Vaticana
–
Sculptures above the entrance of museums
Pinacoteca Vaticana
–
Spiral stairs of the Vatican Museums, designed by Giuseppe Momo in 1932.
Pinacoteca Vaticana
–
The New Wing, Braccio Nuovo built by Raphael Stern
Pinacoteca Vaticana
–
The
Prima Porta Augustus
28.
St. John the Baptist
–
John the Baptist, also known as John the Baptizer, was a Jewish itinerant preacher in the early first century AD. John is revered as a religious figure in Christianity, Islam, the Baháí Faith. He is called a prophet by all of these traditions, and is honoured as a saint in many Christian traditions, John used baptism as the central symbol or sacrament of his messianic movement. Most scholars agree that John baptized Jesus, scholars generally believe Jesus was a follower or disciple of John and several New Testament accounts report that some of Jesus early followers had previously been followers of John. John the Baptist is also mentioned by the Jewish historian Josephus, according to the New Testament, John anticipated a messianic figure greater than himself. Christians commonly refer to John as the precursor or forerunner of Jesus, John is also identified with the prophet Elijah. John the Baptist is mentioned in all four canonical Gospels and the non-canonical Gospel of the Nazarenes, the Synoptic Gospels describe John baptising Jesus, in the Gospel of John it is implied in John 1, 32-34. The Gospel of Mark introduces John as a fulfilment of a prophecy from the Book of Isaiah about a messenger being sent ahead, John is described as wearing clothes of camels hair, living on locusts and wild honey. John proclaims baptism of repentance for the forgiveness of sin, and says another will come after him who will not baptize with water, Jesus comes to John, and is baptized by him in the river Jordan. The account describes how, as he emerges from the water, the heavens open, a voice from heaven then says, You are my Son, the Beloved, with you I am well pleased. Later in the gospel there is an account of Johns death and it is introduced by an incident where the Tetrarch Herod Antipas, hearing stories about Jesus, imagines that this is John the Baptist raised from the dead. It then explains that John had rebuked Herod for marrying Herodias, Herodias demands his execution, but Herod, who liked to listen to John, is reluctant to do so because he fears him, knowing he is a righteous and holy man. The account then describes how Herods daughter Herodias dances before Herod, when the girl asks her mother what she should request, she is told to demand the head of John the Baptist. Reluctantly, Herod orders the beheading of John, and his head is delivered to her, at her request, Johns disciples take the body away and bury it in a tomb. There are a number of difficulties with this passage, the Gospel wrongly identifies Antipas as King and the ex-husband of Herodias is named as Philip, but he is known to have been called Herod. Although the wording clearly implies the girl was the daughter of Herodias, many texts describe her as Herods daughter, Herodias. Since these texts are early and significant and the reading is difficult, many see this as the original version, corrected in later versions and in Matthew. Josephus says that Herodias had a daughter by the name of Salome, scholars have speculated about the origins of the story
St. John the Baptist
–
John the Baptist Preaching in the Wilderness by
Anton Raphael Mengs, 1760
St. John the Baptist
–
The Preaching of St. John the Baptist by
Pieter Bruegel the Elder
St. John the Baptist
–
St. John the Baptist Preaching, c. 1665, by
Mattia Preti
St. John the Baptist
–
John the Baptist (right) with
child Jesus, painting by
Bartolomé Esteban Perez Murillo
29.
Baptistery
–
In Christian architecture the baptistery or baptistry is the separate centrally planned structure surrounding the baptismal font. The baptistery may be incorporated within the body of a church or cathedral, in the early Church, the catechumens were instructed and the sacrament of baptism was administered in the baptistery. The sacramental importance and sometimes architectural splendor of the baptistery reflect the importance of baptism to Christians. The octagonal plan of the Lateran Baptistery, the first structure built as a baptistery, provided a widely followed model. In a narthex or anteroom the catechumens were instructed and made their confession of faith before baptism, the main interior space centered upon the baptismal font, in which those to be baptized were immersed thrice. Three steps led down to the floor of the font, the iconography of frescos or mosaics on the walls were commonly of the scenes in the life of Saint John the Baptist. The font was at first always of stone, but latterly metals were often used, the Lateran baptisterys font was fed by a natural spring. When the site had been the dwelling of the Laterani, before Constantine presented it to Bishop Miltiades. It will be quickly apprehended that as the requirements for Christian baptisteries expanded, there are also examples of the transition from miraculous springs to baptisteries from Gregory of Tours and Maximus, bishop of Turin. Baptisteries belong to a period of the church when great numbers of adult catechumens were baptized, after the 9th century, with infant baptism increasingly the rule, few baptisteries were built. Some of the older baptisteries were very large, so large that we hear of councils, during the months when there were no baptisms the baptistery doors were sealed with the bishops seal, a method of controlling the orthodoxy of all baptism in the diocese. Some baptisteries were divided into two parts to separate the sexes, sometimes the church had two baptisteries, one for each sex, a fireplace was often provided to warm the neophytes after immersion. Though baptisteries were forbidden to be used as burial-places by the Council of Auxerre they were not uncommonly used as such, the Florentine Antipope John XXIII was buried in the Baptistery facing Florences Duomo with great ceremony and a tomb erected. Many of the archbishops of Canterbury were buried in the baptistery at Canterbury. Baptisteries, we find from the records of early councils, were first built, as soon as Christianity made such progress that baptism became the rule, and as soon as immersion gave place to sprinkling, the ancient baptisteries were no longer necessary. They are still in use, however, in Florence. The baptistery of the Lateran must be the earliest ecclesiastical building still in use, a large part of it remains as built by Constantine. Attached to one side, towards the Lateran basilica, is a porch with two noble porphyry columns and richly carved capitals, bases and entablatures
Baptistery
–
Battistero di San Giovanni,
Pisa
Baptistery
–
The
Lateran Baptistery, Rome, 440
Baptistery
–
Baptistery in the
Basilica of St. John in
Ephesus, Turkey
Baptistery
–
St. Giovanni Baptistery in Florence, Italy
30.
Julian the Hospitaller
–
Julian the Hospitaller is a Roman Catholic saint. The earliest known reference to Julian dates to the twelfth century. He was known as the patron of the cities of Ghent, the Paternoster of St. Julian can be found as early as 1353 in Boccaccios Decameron, and is still passed on by word of mouth throughout some places in Italy. The account is included the 13th-century Leggenda Aurea of Genoan Giacomo da Varazze, beautiful stained glass depicting St. Julian by an unknown artist in the Cathedral of Chartres also dates back to the 13th century. Early fresco paintings of him are found in the Cathedral of Trento and the Palazzo Comunale di Assisi. According to de Varazze, on the night Julian was born, his father and his father wanted to get rid of the child, but his mother did not let him do so. As the boy grew into a young man, his mother would often burst into tears because of the sin her son was destined to commit. When he finally found out the reason for her tears, he swore he would never commit such a sin and with great belief in Christ went off full of courage as far away from his parents as he could. Some versions say that it was his mother who told him at the age of 10, after fifty days of walking he finally reached Galicia where he married a good woman, said to be a wealthy widow. Twenty years later, his parents decided to go look for their now thirty-year-old son, when they arrived, they visited the altar of St. She let them in and told them that her husband, Julian, was out hunting, the mother and father were overjoyed to have found their son, as was Julians wife. She took care of well and had them rest in her. But the enemy went off seeking Julian and told him, I have sour news for you, while you are here, hunting, your wife is in bed embracing another man. There they are now, still sleeping. De Verazze continues, And Julian felt deep sadness and his face drew into a frown and he rode back home, went to his bed and found a man and a woman sleeping in it. He drew his sword and killed them both and he was about to take off and never again set foot in that land, but as he was leaving he saw his wife sitting among the other women. She told him, There are your mother and father resting in your room, and so Julian knew, and fell into a rage. The shrewd enemy lied to me when he said my wife was betraying me, and his good wife comforted him and said Have faith in Christ Almighty, a stream of life and mercy
Julian the Hospitaller
–
Saint Julian, from a
fresco by
Domenico Ghirlandaio
Julian the Hospitaller
–
Saint Julian.
Taddeo Gaddi, 14th century.
Julian the Hospitaller
–
Quattrino of Macerata depicting Saint Julian
Julian the Hospitaller
–
Statue of Saint Julian in the church of Saint-Julien (
Puy-de-Dôme, France).
Herbermann, Charles, ed. (1913). "Masolino da Panicale". Catholic Encyclopedia. New York: Robert Appleton Company.
Herbermann, Charles, ed. (1913). "
